Amongst a digital mountain range littered with accomplished folk-ish bands and singer-songwriters, it is a rare miracle to come across a cave so rich in jewels as the one beneath Ida Wenøe’s ribcage. Clash Magazine‘s description of her sound as being “bewitching acid folk with a deeply personal edge” and Paul Lester’s comments in The Guardian that she “sounds like the young narrator of her own magical-malevolent fantasies” perhaps begin to delineate her skills.

While she has an obvious appreciation of Americana, her sound is very definitely laced with more English undertones: the kind of sound Edward Woodward might have heard downstairs in the local inn had the Wicker Man been filmed in a remote Danish village, while Sarah Lund scoured for clues in her jumper. Like the best of the Nordic Noir leaving the Danish mainland, the recordings are at once both sonically pure and grimy and there is an honesty to the songwriting that tugs at your sleeve. While her grasp of English is second nature, there’s some of those intriguing turns of phrase that only a heart that dreams in another language can weave: “The deep conceals things that are real/ look beyond the mirror/look beyond the mirror”, “I know we see things differently/as long as it’s not separately” and “You’re a fish in a bottle/a cock in a coop/the essence of trying…”

While still fronting the much-feted Boho Dancer Ida enjoyed a series of sold out supports in Denmark with Teitur, and a spate of tremendously well received shows both in London and at The Great Escape in Brighton.

Sure, she has the usual credible influences from Vashti to Joni, from Neil Young to Danish folk hero Sebastian; and there’s hints of Sandy Denny and Linda Perhacs. But to list artists she sounds like would be to miss the point entirely. As anyone who has witnessed a live show can attest, Ida Wenøe is very definitely Ida Wenøe.